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  • Poetry & Performance. The Eastern European Perspective
    16 Sept − 28 Oct 2018

    SHEDHALLE Zürich Poetry & Performance. The Eastern European Perspective Curated by: Tomáš Glanc and Sabine Hänsgen Loans by Kontakt from Milan Adamčiak and Raša Todosijević 16.09.–28.10.2018 In the second half of the twentieth century, poets and artists in particular took up the challenge of reflecting on and investigating the instrumentalization of language for communicative and political-ideological purposes. They did so by drawing attention to the “made-ness” of language, its material and medial dimension, and by creating performative situations for themselves and their audiences within which possibilities of verbal expression could be tested and acted out. In Eastern Europe, poetry and performance played a significant role in the unofficial or partially tolerated cultural scene. The participating artists include: Milan Adamčiak, Pavel Arsenev, Damir Avdić, Babi Badalov, Bosch+Bosch (Attila Csernik, Slavko Matković, László Szalma), Collective Actions Group, Ľubomír Ďurček, Else Gabriel / Via Lewandowsky, Rimma Gerlovina, Tomislav Gotovac, Group of Six Artists, Bohumila Grögerová / Josef Hiršal, Gino Hahnemann, Tibor Hajas, Václav Havel, Jörg Herold, Semyon Khanin (Orbita), Vladimir Kopicl, Dávid Koronczi, Katalin Ladik, Yuri Leiderman / Andrey Silvestrov, Vlado Martek, Kirill Medvedev, Jan Měřička, Andrei Monastyrski, Ladislav Novák, Pavel Novotný, NSRD (Hardijs Lediņš, Juris Boiko, Imants Žodžiks), OHO Group (Nuša & Srečo Dragan, Naško Križnar), Orange Alternative, Roman Osminkin, Ewa Partum, Bogdanka Poznanović, Dmitri Prigov, Pussy Riot, Lev Rubinstein, Mladen Stilinović, Gabriele Stötzer, Tamás Szentjóby, Bálint Szombathy, Slobodan Tišma, Dezider Tóth (Monogramista T.D), Raša Todosijević, Jaromír Typlt, Jiří Valoch

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Mladen Stilinović

The artistic practice of Mladen Stilinović, one of the founders and the liveliest protagonists of conceptual art in Croatia and the region, may be presented by using the key words, i.e. words that introduce the core problem and the procedures that the artist used: language, ideology, manipulation, appropriation, correction, irony, installation, decontextualisation, exploitation, repetition, tautology...

Whereas all the existing words in Stilinović's well-known “Dictionary – Pain“ (2000-2003) have been crossed out white and changed into one and the same word of unique meaning – pain – in a potential “imperatival dictionary” some words could easily change places and the structure without the change of meaning.

The open structure and the apparent incompleteness have been constants of the artist’s work since the very beginning. In the late 1960s, Stilinović appeared in the medium of experimental film, and in the early 1970s he stabilized in the area of visual arts. He experimented with two ideologies and aesthetics, the West and the East, Marcel Duchamp and Kazimir Malevich, as their characteristic poles, his opus balancing between deadly seriousness and ironic ridicule, conscious mystification and ruthless exploitation of dead aesthetics and ideologies.

Even when completed cycles are concerned, such as the commonly quoted cycle “Exploitation of the Dead” (1984-1989), there always seems to remain the sense of immediacy, temporality, the possibility of rearranging and upgrading.

Fragmentation, crushedness, fragmented visions are among the basic features of Stilinović’s work that perfectly represent his installation rooms, such as "Red-pink."

N.B.

1947, Beograd / RS, at that time Jugoslavija – 2016, Pula / HR

Stilinović was, together with his brother Sven Stilinović, Fedor Vučemilović, Boris Demur, Vlado Martek, and Željko Jerman, a member of the “Group of Six Authors” in Zagreb (Croatia) from 1975 to 1979. His works include collages, photographs, artist's books, paintings, installations, actions, films and video.


 

Please follow this link for a selected bibliography available at the ERSTE Foundation Library
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